JCJR wrote:Would like to hands on revisit a lot of the old poly synths. I would at the time judge an axe as to whether it would pay for itself in playing commercial music people were willing to pay me to play. If it couldn't make a certain set of sounds I needed, maybe I didn't pay close enough attention to the other sounds an axe might have been good at, if they were sounds I didn't expect typical customers to tolerate at the time.
This is really an important point. In the past, you interpreted the value of a synth in terms of what else was available at the time as well as the musical context. In the mid 80s, brash and bold sampler tones were all the rage, so a Jupiter 8 sounded like the kind of synth that grandma might like at the time.
You needed polyphony back then because well, everything that you played had to have that.
This isn't true today. We can afford to have synths that do just a few things well because they sit in the context of virtually unlimited polyphony with other instruments. Other instruments even do many of the things that we might have pushed that analog synth to do in the past.
My memorymoog was lots worse to hold tune than the prophet. It was maddening. I wore out the screw holes taking that thing apart so much.
Yeah, the memorymoog had character, but it wasn't engineered very well.
For whatever reason, didn't get knocked out by roland such as super jupiter either, though people can make real sweet tracks with em. Maybe my ears were too narrow minded.
The Super Jupiter was rack mounted. Did you mean the Jupiter 8, or 6, also very different synths?